Libmonster ID: U.S.-1419
Author(s) of the publication: E. L. KATASONOVA

In recent years, we have increasingly encountered such a concept as cyberculture - a new civilizational phenomenon of a planetary nature, which is organically integrated into the globalization processes. We are talking about a direction in culture based on the use of constantly updated virtual reality technologies. There are different formulations of this phenomenon, and one of the most common is: cyberculture is "a culture that has been formed or is being formed as a result of using computer networks for communication, entertainment, and business"1.

Cyberculture has already quite clearly formed its audience, having received the main circulation among young people - its main consumers and creators. That is why cyberculture is often considered not only in a global format, but also as a youth subculture that includes "a system of values, behavioral patterns, and life style of any social group, which is an independent integral entity within the framework of the dominant culture".2. At the same time, it is assumed that subculture arises as "a positive or negative reaction to the prevailing culture and social structure in society among various social strata and age groups"3.

It seems that both points of view have a right to exist. Consideration of this problem includes a variety of aspects and, of course, national characteristics. An example is Japan, which has created probably the most developed and most diverse cyberculture in the world thanks to both its modern technological achievements and the relevance and diversity of mass culture that has saturated them with its content.


Cyberculture as a global phenomenon emerged thanks to the Internet, and the history of its development can be traced in close connection with the stages of evolution of the global information network.

Paradoxically, it was in the 1990s, marked by a prolonged economic depression in Japan, that the new Japanese digital culture was born and flourished.

There is an opinion that the Internet was a sign of the victory of the forces of decentralization, individualism and a separate community over centralization, the market and the state.4 But, on the other hand, it was the Internet that made the world truly unified and allowed each member of this new community to express themselves. New technologies have reduced the distance between people: e-mail has made it possible for instant 24-hour communication of a person with the whole world, regardless of their location - the exchange of scientific and cultural information, discussion of common problems and even joint artistic activities, and the creation of personal websites has opened up unlimited ways to present their own creative achievements. A person is no longer tied to a specific office - they can work anywhere and at any time. At the same time, it determines access to the sources of information that it needs to implement its own ideas.

As Yumi Yamaguchi, a well-known Japanese researcher of modern Japanese culture, notes: "It is noteworthy that technological progress and the decline in prices for IT equipment have led to the fact that previously only professionals in the field of public service have been able to use IT.-

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non-specialists are now also subject to such restrictions. Whether it's music or visual art, it's now possible, with the help of a computer and special programs, to sit at a desk and in a short time produce the huge creative work that used to be performed in large studios with a large staff of well-trained staff. " 5

This means that with the advent of the computer era and the active introduction of the Internet in the life of modern society, not only large professional teams, but also small groups of creative individuals, and even individuals whose creativity became available on a global scale (several million people watched some YouTube videos in one day). As a result, there was a certain bond between producers and consumers, and their joint participation in the creation of an informational or artistic product became possible. At the same time, it should be noted that the presentation of such a product to the public is again determined by its creator - he acts both as a manager, as a PR agent, and as a distributor who is not constrained by the traditional framework of doing business.

All this, despite the rather difficult situation in the Japanese economy as a whole and in traditional areas of industry, gave a powerful impetus to the development of the cultural industry, and along with it, Japanese mass culture, and its broad expansion beyond national borders.

As the American journalist Douglas Maggray writes in a sensational article for his time (1982), "Japan Gross National Cool "("Japanese gross national fashion product"): "Even when the economy was experiencing troubled times, the cultural influence of Japan outside the country increased dramatically." 6

At the same time, perhaps it was the stagnation of the national economy and the sharp decline in the domestic market that forced Japanese manufacturers to focus their efforts on the production of the most popular cultural goods at that time-manga, angshe, computer games, etc. - all that Maggray calls "the national gross fashion product", and turn their eyes far beyond countries, making desperate efforts to promote it to other countries. And all the necessary conditions for this were already created there, first of all, thanks to the Internet, which was not only a source of cultural information, but also the main channel for many samples of Japanese culture to penetrate abroad.

The incessant boom in Japanese mass culture among foreign youth is quite clearly reflected in the number of relevant sites in the Google search engine in English. For example, by mid-2007, the number of manga - related websites was 132.2 million, karaoke - 86.9 million, and anime-25.5 million. The most popular Japanese computer games:" Game Boy "is represented on 19.3 million sites," Final Fantasy " - on 6.3 million; popular manga:" Naruto " - on 10.2 million sites, "Yu-Gi-Oh" - on 4.5 million; and anime: "Dragon Ball" - on 10.1 million. For example, "Gundam" - 8.8 million, "Sailor Moon" - 7.3 million, "Evangelion" - 6 million. The list goes on and on. For comparison, the American film "Superman" is represented on 25.6 million sites, "Harry Potter" - on 25.1 million, and the entire Disney animation - on 22.5 million. sites 7. Today, there are more than 1.5 million sites dedicated to manga in Russian alone.

Special mention should be made about music, which also became another Internet phenomenon of that time, and, above all, about the Japanese avant-garde music Japanoise (J-noise), which is not as widely known in our country as Japanese pop and rock music (J - popHj-rock).

Unlike other popular music genres, Japanoise worked its way to reach its listeners outside of traditional distribution channels and the well-established support system for the global media industry, and the Internet was its main distribution channel.

This is another clear example of how with the advent of the Internet, performers have new opportunities to promote their brands and reach consumers who were previously inaccessible to them. Although, according to experts, it will become increasingly difficult to target a wide audience based on their general preferences over time. The recording industry should target small audiences with unique tastes. In this regard, Japanoise is one of the most successful Japanese Internet projects.

This is evidence of perhaps the most important technological achievement: now every computer user can create their own art. Everyone, even non-professionals, can create, record, mix, market and distribute their own recordings at home.

The Internet has given everyone a unique opportunity to freely use any form of creativity with a constant, almost daily update of the mechanisms for creating works in any field-from music and games to electronic libraries with millions of volumes.

And finally, another distinctive feature of Japanese cyber culture. For young Japanese people, individual freedom is closely intertwined with participation in various social networks consisting of members of equal social status, and informal forms of social interaction. Such networks can include communities of several people or tens of thousands. This practice has been fully extended to virtual networks, giving rise to a huge number of online communities. These are a kind of online fan clubs based on interests that involve not only an active form of participation, for example:-

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for example, posting information or participating in conferences on Internet forums, but also a passive form of familiarization with the information provided on the site. A fairly clear example of this is the numerous sites of fans of Japanese manga, anime, video games - the so-called otaku, who created their huge country on the "world wide web". It is also fundamentally important that Japanese users are increasingly becoming participants in global social networks, primarily Facebook, which, of course, leaves its mark on their perception of the outside world.


The widespread introduction of the Internet into Japanese society did not occur until the mid-1990s. And this was due to a number of factors. The need for new types of communications was dictated by a rather weak landline telephone infrastructure in those years - a problem that was difficult to solve due to a number of circumstances, including the high cost of wiring telephone cables.

It was during this period that favorable conditions were created for a wide acquaintance of Japanese people with new computer technologies. Due to the sharp rise in the price of the Japanese yen in the domestic market, prices for imported goods have significantly decreased. This affected, among other things, the increased sales of American computers and software in Japan, the cost of which differed favorably from the very expensive domestic products that are not easily accessible to the average consumer.

It took only 5 years for the Internet to penetrate about 10% of private Japanese homes, while the introduction of personal computers and mobile phones took almost 15 years, fax -19 years, and 76 years - to a regular phone 8.

By the end of 1999, 19.1%, and by February 2000, 21.4% of private homes were equipped with electronic communications. Japan was then ranked 13th in the world after Iceland (45%), Sweden (44.3%), Canada (43.2%), Norway (41.3%), and the United States (39.4%).9. Today, almost 80% of homes in Japan have Internet access 10.

In a relatively short period of time, Japanese has become one of the most widely spoken Internet languages in the world. As of March 2002, the prevalence of Japanese on the Internet was already recorded at 9.2%, which then gave it the 3rd place in the world after English (40.2%) and Chinese (9.8%) 11. In 2009, almost 20 million websites were dedicated to the Japanese language, and almost 5% of them allow users to start learning it remotely.12

While Japan has always largely lagged behind many other developed countries in terms of the number of Internet users using stationary personal computers, it has significantly advanced in terms of the number of mobile Internet users. Currently, the number of their holders exceeds 100 million people13.

One of the recognized Japanese leaders in the field of mobile communications - DoCoMo-Do Commucation over the Mobile network (Establish communication via mobile communication) owns 3/5 of the Japanese domestic market. Its abbreviation successfully coincided both in sound and meaning with the Japanese word "dokomo" ("everywhere"), echoing the slogan that is now fashionable all over the world: "Any content anywhere, anytime!"

This company - the largest Japanese mobile operator - was created in 1992 by the telecommunications giant NTT (Nippon Telephone and Telegraph) and soon began to conclude contracts with the public for mobile Internet services.

When DoCoMo launched its service called i-mode in February 1999, no one could have imagined that in less than a year, millions of Japanese people would be using their relatively simple phones with black-and-white screens and low resolution for daily Internet access, e-mail exchange, news reading, and downloading images and ringtones. To get access to this service, you had to buy a special NTT DoCoMo phone with the cherished i-mode button, by pressing which the subscriber got to the usual text menu, where he could choose which of the services to use.

In the first year alone, 4.5 million people joined i-mode. Content providers, whose numbers began to grow like an avalanche, created hundreds and thousands of new sites for phones with i-mode. The operator also provided an increase in the number of new services. For example, in 2001, the i-appli service was launched, which allows you to use small dynamic applications on phones - applets created on the basis of the open Java language. By downloading one of these applets to your phone, the subscriber was able to automatically receive weather forecasts for the next day, monitor stock exchange rates in real time, etc.

In 2006, the number of i-mode subscribers in Japan already exceeded 45 million people (almost a third of the country's population), the number of official content providers - about 3 thousand, and i-mode sites-more than 80 thousand. The turnover of payments in the i-mode system reached the level of $ 10 billion. 14

Today, i-mode is a whole universe: modern phones, huge screens, colorful, with an excellent range of colors and high resolution. In addition to access to e-mail, any sites, chats, as well as the ability to "download" ringtones, pictures, play games, you can watch anime series, mobile karaoke, view cooking books and city guides, a full-fledged mobile ATM, book hotel seats and pay for-

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Finally, with the new i-Felica technology, the phone turns into a mobile wallet that can be used to pay in more than 40 thousand stores in the country. Entering the market of communicators has made it possible today to perform the functions of a navigator, as well as view television programs, transfer huge amounts of information to each other compared to the past, primarily through the constant expansion of internal memory through the use of mini-SD cards.

In 1997, Japan's Lawson Inc., a 24-hour retail chain store, was one of the first to sell goods on the Internet. Since then, the Japanese segment of the Network has been regularly updated with new online stores, and users increasingly prefer to make purchases using a mobile phone. It is significant that, according to statistics, up to 40% of mobile phone users are currently engaged in mobile shopping, and about 30% of users are limited to "downloading music over the Internet" 15.

In 2005, the Japanese online retail market exceeded $ 6.3 billion. Moreover, a significant part of this amount was accounted for by sales of mobile content-ringtones and screensavers for cell phones.16 Today it is almost 14 billion rubles. USD 17

A dynamically growing area of mobile content is entertaining games for different phone models: the so-called Jawa games. These are realistic football simulators, exciting races, puzzle games for fans of logic games, and, finally, board games - variations of checkers, etc., not to mention applications - interactive slideshows, etc. On average, more than 200 new games designed for use in mobile phones and communicators appear in Japan every month. A modern phone communicator allows you to participate in complex multi-level games on the Internet, which simultaneously include thousands of users from different countries.

Another equally popular digital product on the Japanese market today is manga comics. Consumer demand for manga has significantly increased with the introduction of high-speed multifunctional 3G and now 4G communicators with high-quality LCD displays and unlimited fixed-fee tariffs. Initially, manga publishers thought that the target group would read comics while traveling or on the go, but to their surprise, most users started reading manga after 11 pm while at home.

According to analysts, the consumer boom in manga is a lifesaving phenomenon for Japanese publishers. The digital distribution market grew 4-fold in just one year, from 2005 to 2006, reaching $ 38.5 million by March 2006.18 Manga publishers are gradually beginning to favor new electronic forms over traditional printed ones. According to the Digital Content Association, in 2006 alone, sales of e-books and manga to mobile phone users grew by 331%, and this is against the backdrop of a drop in sales of e-books and manga to mobile phone users.-

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increase in print manga magazine circulation (!) 19.

An e-comics user in Japan now spends an average of $ 15 a month on a single page. per month. In 2008, Japanese users spent $ 20 million on manga viewing alone, 20 with almost 80% of users being women.21

A new hobby of Japanese people is the so-called "mobile literature". Writers of the new generation prefer to type their works not on computers, but on the displays of mobile phones and send them via mobile communication to all fans of this kind of fiction. And there are millions of them in Japan.

It is significant that in the list of the best-selling works in 2007, the first lines are occupied by mobile opuses. The work that received the highest rating - "Sky of Love" - was first placed on the Internet for downloading to a mobile phone, and only then appeared in print form and sold 2 million copies. instances. Later, a popular film was made on it, and its author, a girl known as Mika, became a real star.

Subscribers are offered a choice of about 150 "mobile" novels, and the subscription price is just over $ 1. per month. More than 50 thousand people use the services of such sites. there are 22 subscribers.

In Japan, there is a real boom in the digital tanka, a traditional genre of Japanese poetry that dates back to the early Middle Ages. Even on the radio channel of the Japanese broadcasting corporation N-H-Kay, the program "Mobile Tank in a sleepless night"has been created and is very popular among listeners. This is a kind of modern alternative to those poetry tournaments that have been held in Japan for centuries, initially exclusively in aristocratic circles and at the imperial court,and then became a favorite pastime of the general population.

The influence of mobile phones on Japanese culture has not only affected literature, it has penetrated literally all its spheres. So, in 2007, the first international festival of "pocket" films made by mobile phones was launched in Japan. It was attended by the Directors lovers from 18 countries, including the UK, Germany, China, Russia, etc.

It is significant that in 2008 The Internet in Japan for the first time surpassed the popularity of newspapers. This is evidenced by the results of an annual study conducted by the National Institute of Information and Communication Technologies. It found that the average Japanese person spends 37 minutes online, 5 minutes more than a year ago, reducing the time allotted to reading newspapers by 23.

The same trend is clearly visible today in the field of advertising. According to the results of 2007, the volume of the online advertising market in Japan for the first time in history exceeded the volume of advertising in print media. Such data is presented in the annual report of the largest Japanese advertising agency Dent 24. According to analysts, the reason is simple. First, the number of global network users continued to grow in the country in 2007. Secondly, the Internet is traditionally used by the youngest, most educated and most solvent audience, so active advertisers prefer to reorient themselves to this audience.

And yet, despite such an impressive popularity, the Internet is still losing out to the recognized media leader - television, which Japanese people still spend an average of 3.5 hours watching every day. Hence the much larger turnover of the television advertising business.

And while in many countries around the world, young people are gradually starting to abandon television in favor of alternative sources of information, as the Internet and personal mobile communications have brought new qualities of interactivity to traditional media, the Japanese have already solved this problem. They can not only watch TV shows on a mobile phone, but also record them, and, of course, react interactively to what they see. The modern viewer, listener, and reader does not want to limit themselves to the role of a passive content consumer.

"Today, the information consumer is actively involved in the process of production, delivery, and consumption of information and knowledge, gaining technical opportunities to choose the information of interest in text, sound, visual, or multimedia form, respond quickly to information, and be included in marketing communications, direct sales, and e-commerce directly in the process of information consumption."25

While mobile TV is still being developed and tested around the world, Matsuchita Electric, SanDisk and Toshiba have joined forces to produce mobile phones and memory cards to enable Japanese mobile viewers to watch and record mobile TV shows. The number of mobile TV viewers in Japan today varies between 12 million people.26


Modern Japanese mass culture is mainly visual, and therefore still the leading position in it belongs to television. The emergence of the same Internet with its also

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visual, but much more concise, sometimes just "hieroglyphic" communication via e - mail, thematic conferences and chats, anticipated and prepared the ground for a new round of visual and even more concise and modern-mobile culture, which is rapidly becoming popular in the most progressive and fertile for innovations youth environment.

A mobile phone or, more and more recently, a communicator is now an indispensable element of urban life in modern Japan, and young people simply cannot imagine themselves without this modern invention-from maintaining everyday work, social, and private contacts to all sorts of entertainment in their leisure moments and even criminal investigations (just recall the action-packed detective film by the cult director Miike Takeshi "One missed call", where the crime is solved using a mobile phone).

The mobile phone has clearly divided Japanese society into the younger generation of mobile Internet users and its older age group. The difference between adults and adolescents in the use of mobile phones takes place at the value level: if in the first case the factors of practicality prevail, then in the second-it is necessary to talk more about the emotional sphere. So, the majority of middle-aged and older Japanese-owners of cell phones claim that they need it exclusively as a means of communication and communication with the world around them. And only recently, they have moved on to mastering its other technological capabilities - e-mail, etc.

It is significant that, according to one survey, out of 3,750 respondents, no more than 15% admitted that they use only "outdated" features of their mobile phone, such as" talk "and"send text messages". At the same time, about 70% regretfully admitted that with the advent of e-mail, they began to send much less "real" letters and postcards to their relatives and friends, and 11% noted that "live" communication between people became less intense.27

Teenagers, on the other hand, are not too keen on e-mail communication, considering this form of interaction too official. Young people prefer other forms of remote communication-SMS and instant messaging systems. The majority of Japanese young men and women are interested in new, almost unlimited variety of functions, as well as in mastering a large stock of technologies that were developed at the dawn of mobile telephony development and are far from exhausted.

96% of Japanese schoolchildren own mobile phones. They use them to read books, listen to music, chat with friends, and surf the web - an average of 124 minutes a day for girls and 92 minutes a day for boys.28 And most often this happens at night.

On average, parents in Japan spend $ 39 a month to pay for a child's cell phone.29 But less than financial problems, the adult part of Japanese society today is concerned about the harmful impact on the health of adolescents of long-term mobile communications of schoolchildren, as well as a number of serious social problems associated with expanding the limits of permissible freedom in cyberspace.

It got to the point where the Japanese government decided to limit the use of mobile phones by children. Officials believe that mobile Internet is dangerous and negatively affects the health of schoolchildren. It is proposed to limit the functions of mobile phones used by schoolchildren to voice services and GPS navigation only. Local manufacturers were offered to develop such devices.

Hideki Nakagawa, a professor of sociology, says that young people are simply "obsessed" with mobile phones. "They feel insecure without it," he concludes.30 Another od-

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but a study conducted by Professor Tetsuro Saito found that students also use a mobile phone as an emotional support, and the more problems they have at home,the more addicted they become to phones. 31 Usually, when talking about the benefits of using a mobile phone, Japanese students use the words "ureshii" (joyful), "tanosii" (exciting, pleasant), "benri" (convenient).

Japanese boys and girls especially note this property of mobile communication, as the preservation of anonymity. This allows, first of all, to be outside the rigid status framework characteristic of Japanese society, and also frees from constant control by parents, etc. Emails can be sent and received silently in university classes, at business meetings, on trains and in restaurants, where it is often forbidden to talk on mobile phones.

Quite indicative in this respect is the extraordinary popularity of so - called "dating" sites in Japan-dating and dating sites. However, according to experts, " with all the culture of romantic school infatuation, which is manifested, in particular, in the business of agencies for finding contacts of the first love, the Japanese will never have a popular service like our Odnoklassniki. Japanese people value their privacy too much. " 32

As researcher Brian McVeigh points out, "there is even an opinion among students that the mobile phone creates for young people their own world closed from the world of adults and parents, in which you can feel complete freedom of action and self-expression," and therefore is "the main link in the transformation of Japanese society and the destruction of its centuries-old traditions.""33.

Now a lot of people write about the fact that the current trend in Japan of the disintegration of society into separate segments - subcultures - leads to the destruction of the social unity of the country. Researcher E. Kogawa explicitly states that modern Japanese collectivism "is more based on electronic means of communication and has a fragmented character rather than continuing to remain traditional, based on the unity of language, race, religion, regional unity or taste preferences"34.

Let us now turn to another, no less important aspect of this problem, which B. Mcveig draws attention to: "The information technology revolution and the transition to digital media can be regarded as a further step towards the individualization of the individual," he emphasizes. - Paradoxically, despite the seemingly increased possibilities of control with the help of new technologies, this project has penetrated so deeply into other intellectual spheres that it has dramatically expanded the possibilities of the individual for his individual activity and the manifestation of the subjective principle. That is, the process of establishing a person's individuality contributed to increasing attention to his inner life, creating opportunities for autonomous satisfaction of the individual's desires and needs generated by capitalist consumerism itself. " 35

This quest for self-expression can be interpreted in different ways: as an opportunity to look fashionable, as a way to win back your own independent private space, and as an attempt to express yourself more clearly. So, for example, with the advent of the mobile phone, the desire to express their individuality with the help of its wide technological capabilities has sharply intensified among young men and women. But no less attention is paid to the external design of the device itself, which is also a business card of its owner. And it's not just the phone models themselves and their cost, but also the difference between one and the other.


A mobile phone in Japan is the subject of design searches for most of its owners. There is an art of decorating it. A whole industry has emerged that operates in this segment, and on the streets of Japanese cities, literally at every turn, you can buy rhinestones, various decorative pendants, ribbons, cords, and small toys for a symbolic price. The use of all this variety is a matter of taste and talent for everyone. And this" craft " amuses themselves not only children, but also adults. Although it should be recognized that with the beginning of widespread use of communicators, the external effect loses its significance.

The most important criterion that all owners of mobile phones are guided by is that this amateur creativity somehow corresponds to the concept of kawaii (cute-in English, literally-cute, pleasant, pretty), which has become the main aesthetic category of modern Japanese youth culture in Japan. In connection with the introduction of the latest technological achievements in youth culture, foreign researchers have put forward a new concept-techno-cute, which combines two essentially contrasting aesthetics - the cold mind of machines and the warmth of human perception.36

One of the most popular ways to give your phone a vividly personalized sound is through music. Music gives you an instant opportunity to tune in and have fun. Ringtones and callback tones allow consumers to tell others about their affections and possibly some of their personal qualities.

Another way of individualization is through themes. The user can not only change the screensavers, but also change the graphics of the screen.-

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The user-friendly interface of the phone menu, etc., and, of course, a variety of color images, all kinds of animated themes and favorite drawn characters have become "regular participants" of mobile communication.

With the help of a special program, everyone can draw their own logo and send their creativity to a mobile phone to themselves or their friends. These cute creatures can be present in the texts of mobile mail messages at the user's request, giving the information a specific and individual character. It is interesting that depending on the recipient, the same user can attach images of different characters to the message, thereby expressing not only their mood, but also the degree of closeness of friendly relations.

A sample of techno-cute can serve as a special computer program - "postal assistant" (PostPet) - small hand-drawn attractive creatures accompany the sending and receiving of e-mail by their owner.

Another example is various screensavers for mobile phone displays that start to come to life when a call signal is received or an email is received, etc. For example, everyone's favorite Hello Kitty, for example, appearing on the display, reports the time when a call is received, and at the same time reminds you of several dance "steps".

With the development of animation, anime characters and other small fun toy characters have rapidly moved to mobile phone displays. In this direction, DoCoMo and Bandai, known for the once popular electronic toys "tamagotchi", are working together quite a lot and interestingly.

So, for example, the Bandai website called "Doko-demo Kyarappa!" (toy characters everywhere) has 1 million users. subscribers who receive multiple images of animated characters on their display every day for a monthly fee of 100 yen.

Of course, there are alternative sites that oppose the aesthetics of kawaii and offer a different - more aggressive and harsh character of the same products. However, the kawaii style dominates the Japanese Internet style, and it is quite possible to talk about a close link between kawaii culture and cyberspace.

Researcher Sh. Kinsella points out that kawaii culture reflects the specific ways in which members of different genders and generations interact with consumerism in Japan. 37 He points out that "if consumption is a key point in the new global economy, then the Internet is a necessary tool for ensuring this system of consumption in the context of its mass production and implementation", and the "kawaii" culture is one of the main models in the development strategy of this system38.


Digital media and the Internet made it possible to exchange information directly, instantly, visually and colorfully. The mobile phone has replaced essentially everything-the camera, video, TV, book, and mobile phone communications, which are already firmly embedded in the daily life of Japanese people.

The next step after the mass distribution of personal communication tools at the very beginning of the XXI century was the emergence of high-speed mobile data transmission protocols that allow almost instant access to the Internet and access to the mass market of the latest models of mobile phones-communicators, or smartphones, which also include a personal computer, TV, and large-volume data storage facilities that represent It is a kind of symbiosis of mass media and mass communications.

Mobile audiovisual culture is also evolving from simple to complex. In a short time, we have gone from primitive single-tone ringtones-calls or ringtones and the simplest monochrome screen drawings-logos and screen savers to polyphonic melodies and full-fledged mp3 audio files, color Java images, color photos and video clips, and, finally, to a TV video sound sequence of broadcast programs.

Without setting yourself the task of delving into all the features of technological progress in detail,

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In the context of our topic, we will limit ourselves to the assumption that the world has changed dramatically since the invention of the Internet and mobile communications. The culture has also changed, responding to the new conditions of our life. And whether we want to or not, the course of events can no longer be changed. Cyberculture, which can reasonably be attributed to its mobile segment , is already a well-established reality of our time, one of the main vectors of development of modern civilization.



3 Ibid.

4 Japanese Cybercultures. London,. N.Y., 2003, p. 61.

5 Cool Japan. The Exploding Japanese Contemporary Arts (in Japanese), vol., 2005, p. 88.

6 Ibid., p. 89.

7 Soft Power. Superpowers. Cultural and national assets of Japan and the United States. N.Y., London, 2008, p. 135.

8 Ibidem.

9 Japanese Cybercultures.., p. 4.

10 The Japan Times, 2.09.2009.

11 Ibidem.

12 Ibid.

13 Dijitaru kontentsu hakuse (Digital Content White Paper). Tokyo, 2008, p. 80.




17 The Japan Times, 14.03.2009.

18 Ibidem.


20 The Tribune, 26.07.2009.

21 Manga News, 2.08.2009.


23 Trud, 30.06.2008.








31 Ibid.


33 Japanese Cybercultures.., p. 62.

Kogawa E. 34 Beyond electronic individualism. Online - http:// (March 2, 2002).

35 Japanese Cybercultures.., p. 19.

36 Japan Times, 25.03.1999.

37 Japanese Cybercultures.., p. 52.

38 Ibidem.


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Progress Sums: 1,2,3,4,5..., -1,-2,-3,-4,-5... It can be found using the formula: Sn=(n²a₁+n)/2. Progress Sum: 1,3,6,10,15..., -1,-3,-6,-10,-15... It can be found using the formula: Sn= ((n+a₁)³-(n+a₁))/6. Progress Sum: 1,4,9,16,25..., -1,-4,-9,-16,-25... It can be found using the formula: Sn= a₁(n+a₁)(n²a₁+0.5n)/3. (Where n - is the number of summable terms, a₁ - is the first term of the progression).
Catalog: Mathematics 
6 days ago · From Andrei Verner
To the 80th anniversary of YEVGENY MAKSIMOVICH PRIMAKOV
Catalog: Science History Philosophy 
6 days ago · From Ann Jackson
6 days ago · From Ann Jackson
6 days ago · From Ann Jackson

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